Art Appreciation

Chapters 4 & 5

LINE• A path traced by a moving point or a mark

with the point being the smallest of all visual elements.

• Movement, direction and emphasis implied by lines convey different characteristics and psychological effects.

• Types of lines: – actual, implied, incised, raised, contour, variation,

cross-hatched, lines formed by edges• Linear forms are interpreted as lines

SHAPE• a 2-dimensional form that occupies an area

with identifiable boundaries.----------------------------------------------------------------

• a 3-dimensional form that occupies a volume of space.

MASS

The Madonna of the Meadows, Raphael, 1505, oil on panel

The Raven and the First Men, Bill Reid, 1983, Laminated yellow cedar

SPACE

• In 3-dimensions, an area in which anything with mass exists.

• In 2-dimensions, it only has height and width, but no depth.

• It is a limited or unlimited area appearing to advance, recede, or extend in all directions.

The Nose,

Alberto Giacometti, 1947

VALUE• The relative lightness or darkness of a color in relation

to another, as well as the relationship of light to dark.

– Hue – the name used to distinguish one color from another. The word “hue” is used interchangeably with the term “color.”

– Tint – a color lighter than the hue’s normal value. Adding white usually produces a tint.

– Shade – a color darker than the hue’s normal value. Adding black usually produces a shade.

COLOR

• A function of light where the physiological activity of the human eye and the science of electromagnetic wavelengths are the process necessary for it function.

• Color are the components of light revealed when refracted through a prism.

• When arranged on a color wheel, colors are labeled: primary, secondary and tertiary

LIGHT

• A type of radiant energy that reveals the world of forms and spatial relationships.

• Actual light – Natural light. Light produced by electricity. In art, this type of light is used in architecture and some sculpture.

• The illusion of light – Light which is created in an artwork by the use of paint or another medium. The artist most often creates this illusion with value changes.

1978-79

1986-87

The Scream, 1893,Edvard Munch

Stolen in 1994 & 2004there are 5+ versions,

http://www.telegraph.co.uk/news/worldnews/1584138/The-Screams-value-unstained-by-theft-damage.html

http://www.youtube.com/watch?v=QPJubZlcYxU&feature=related

TEXTURE

• A quality experienced through touch or through touch visualization.

PATTERN

• A decorative repeating motif or design.

PERSPECTIVE

• Any system for depicting the illusion of 3-dimensional space on a 2-dimensional surface.

• LINEAR perspective (also called scientific)– one-point -- two-point

• Isometric perspective• Aerial perspective• Ground perspective

One-point Linear Perspective

Two-point Linear Perspective

TIME

• A progression or sequence that creates an actual or implied sense of life/time passing.

• Time is the element in which we live. It is sometimes referred to as the forth dimension.

MOTION

• An actual (kinetic) or implied sense of movement.

Calder, flamingo

Danube bicycle

• http://www.youtube.com/watch?v=LeBiqVJrJ08&feature=PlayList&p=BA532D06AA211E8E&index=17

Arthur Ganson, “Machine with concrete”

• http://www.boingboing.net/2009/09/15/motor-attached-to-se.html

End of chapter 4The Visual Elements

------Begin chapter 5

Principles of Design

UNITY

• A sense of oneness, of things belonging together and making a coherent whole.

VARIETY

• The difference between objects using any of the visual elements.

Black Face and Arm Unit, Ben Jones,1971, Painted Plaster

Black Face and Arm Unit, Ben Jones,1971, Painted Plaster

Joseph Cornell, Habitat Group for a Shooting Gallery, 1943

Joseph Cornell, Untitled (The Hotel Eden), c. 1945

Joseph Cornell, Untitled (Paul and Virginia), c. 1946-48

Joseph Cornell, Untitled (Pharmacy), 1943

Jackson Pollock, Shimmering Substance, 1946

BALANCE

• In either 2-D or 3-D, the visual “heaviness” or “lightness” of forms arranged in a composition.

– Symmetrical Balance– Asymmetrical Balance– Approximate Symmetry

L. Brent Kington,

Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

Frida Kahlo, The Two Fridas, 1939

Gustav Klimt, Death and Life, before 1911

Sakai Hoitsu, Summer Rain, late 18th century

Edouard Manet, A Bar at the Folies-Bergere, 1881-82

Rose Window, Notre Dame, Paris

SUBORDINATION

• Certain areas of a composition purposely made less visually interesting.

EMPHASIS

• A certain part of the composition that has the viewer’s attention, especially small, clearly defined areas such as the focal point.

Henry Ossawa Tanner, The Banjo Lesson, 1893

Paul Cezanne, Still Life with Compotier, Pitcher, and Fruit, 1892-94

Executions of the Third of May, 1808, Francisco de Goya, 1814-15

http://eeweems.com/goya/3rd_of_may.html

SCALE

• Size in relation to a standard or “normal” size.

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• The size relationships between parts of a whole or between two or more items perceived as a unit.

PROPORTION

Oldenburg and van Bruggen, Plantoir, 2001

Rene Magritte, Delusions of Grandeur II, 1948

Leonardo da Vinci, Vitruvian Man, 1485-90

RHYTHM

• Can be based on repetition of any of the visual elements.

Piet Mondrian, Broadway Boogie-Woogie, 1942-43

Grading Criteria - Presentations• Proper length = 5 minutes• Full bio/history– Pic of artist– Where did they go to school– Influences/legacy

• Anecdotal info• Plenty of images• Presenters interest in the subject• Seems informed/able to answer questions• Proper sources cited